汪曾祺同志鲜明地指出京剧存在危机,并首先体现于剧本。张汉英同志反对这个论点,还不同意汪文拿京剧剧本来和我国当代诗歌、小说的艺术成就进行比较。我认为,这次争论确实争到了点子上,是件大好事。“剧本是一剧之本”(陈彦衡先生语),没有剧本,唱做念打凭借什么综合到一块?从广义上说,没有剧本就没有戏剧。剧本决定了舞台艺术的发展,古今中外皆然。至于汪文通过京剧剧本与当代诗歌、小说的比较,则更加充分地揭示了京 Comrade Wang Zengqi clearly pointed out the crisis in Peking Opera and was first reflected in the script. Comrade Zhang Han-ying objected to this argument and did not agree with Wang Wen’s comparison of the artistic achievements of the Beijing opera scripts with the contemporary poems and novels in our country. I think it is a great thing that this debate really won the idea. “The script is the origin of a drama” (Mr. Chen Yanheng), there is no script, sing a fight instead of relying on what to put together? Broadly speaking, there is no drama without a play. The script determines the development of stage art, both ancient and modern. Wang Wen’s comparison of Beijing opera scripts with contemporary poetry and fiction reveals Beijing more fully